Platinum Audiolab cooks up all sorts of samples and loops into finely tuned, pre-mapped, instantly loadable production kits. Our fast download server can serve you a compressed 500mb zip file in minutes over a highspeed connection. We also offer mailed CD's almost anywhere in the world, all for reasonable prices affordable across all budgets. Take a listen to our demos to get a taste of our Platinum Quality! And take a look around our sample & loop browser to find the exact sound library you are looking for.
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Almost all of our products allow you to choose an instant download delivery as an option. That means you don't have to worry about paying extra for shipping, import taxes, or packaging. What you get is all of the contents found on the disk, with documentation, sent to you instantly over a blazing-fast download server.
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There's nothing hidden behind long, boring documentation. We're pretty straight-forward on our policy. When you purchase any of our libraries, you are entitled to 100% Royalty - FREE use in your commercial and personal compositions as per our licensing agreement. Hooray for simplicity!
Testimonials
The sounds I ordered are incredible! Everything is way better than I expected. I am very happy with the fast and convenient download. Great job guys!
-- Pedro
Quick Studio Tips
In your mixer settings, its a good idea to set the audio bit-rate to 32-bit. Newer computers take a small performance hit, but mixing in 32-bit results in a cleaner final master. Why? Because all of that fx processing and re-processing chips away at the initial bit-rate. For instance, if you lose 5 bits of effective resolution due to putting your audio through a ton of fx, you have a relative resolution of 27-bits with a 32-bit file, as opposed to a relative resolution of 11-bits with a 16-bit file. Being that the destination resolution is usually 16-bit (CD Quality Master), its best to give yourself that headroom from the get-go.
DESCRIPTION: In case you haven't noticed, dubstep is huge and everyone wants that massive wobble bass sound. With this loop and sample set, you get a whopping 220+ custom wobbly, growly, crunchy and highly choppable wobble bass loops in detail-rich 24-bit quality...
Recent Articles & Tutorials
Combating Listening Fatigue
Listening fatigue is a concept familiar to almost anyone with longterm mixing experience. Even if you are not familiar with the term, chances are you have experienced it in your music making journey. It is often subtle (you have trouble determining what is wrong with your mix) and insidious (you think your mix is going great only until coming back to it with fresh ears, realizing the balance is way out of whack)...
In Search of Higher Quality Audio
Record producers are always trying to get an edge over competition and will try any trick in the book to improve the perceived quality of their recordings. Witness the mastering limiter, SA-CD, surround sound, exciters, et al. All of those either lost favor, never took hold, or became self-limiting in the case of the loudness wars (wonky engineering pun intended). Now we stand at a crossroads in regards to the next great leap in sound quality technology...
Verse To Chorus: Solving The Awkward Transition...
One of the most aggravating things to deal with when writing a song is coming up with proper transitions, usually between verses and choruses. However, transitions can also occur as key changes, progressions, and tempo changes. This is not an exhaustive tutorial on the subject matter but rather an overview of some of your options. Regardless of what kind of change you are dealing with, you should always consider an intermediary change, or bridge...
Autotune Disaster: The Modern Phenomenon...
Most of us have heard of or seen what is known as a “Photoshop disaster.” You know what we’re talking about: a model with a missing hand, or an airbrush gone wrong. In other words, a completely un-natural and off-putting effect originally intended as an enhancement...the corollary in the world of music would have to be the misapplied Autotune, either as an overt effect, or a botched enhancement...
Self Mastered Music: A Tale of Triumph and Tragedy...
So, you’ve actually recorded your own music and gone through the arduous, though fulfilling, process of mixing it yourself… “so far, so good” you think. But now for the finishing touches, the dreaded MASTERING phase of your recording. Ah yes, the arcane yet fine art of polishing a, hopefully, already good sounding mix (rather than polishing a turd, one hopes?). The one stage of the recording that, rumor has it, even the most hardened DIY masters don’t dream of doing themselves. Dr Dre, Tiesto, Trent Reznor – none of them even come close to grappling with the mysteries of mastering, favoring instead to hand off their carefully considered mixes...
Getting Your Sounds to SIT IN THE MIX
Have you ever found yourself building an elaborate sampler or keyboard patch made up of layers upon layers only to be disappointed when bringing it into your mix? You find out that either it stands out over top of everything else, or else you need to bring it way down to a barely audible level, making you wonder, "dude, where's my sound?" This doesn't only happen with synthesized sounds; you may have layered your drums, vocal takes, bass or guitar parts and come to the same conclusion. This article will help you understand why this happens, and what you can do to avoid it, or if necessary, fix it in the mix.
From Flat to FAT - How To Get A Kick Drum To Sound BIG
For this tutorial we are going to show you how to take a mediocre, boring, flat, or just plain wretched sounding kick drum, and magically engineer it into a bass-rattling behemoth. "But, why should I bother learning how to make my own kick drums?" you ask...Well, because, the kick drum is the corner-stone of almost all modern recordings. Check out any hip hop, rock, pop or dance track on the radio today. Front-and-center is a big, beefy kick. Since the kick drum has such high energy content, it goes a long way towards producing the perception of BIGNESS and LOUDNESS in a track. Often, you'll have a kick drum in your track that you selected...
Platinum Audiolab Sample and Loop Product Demos on SoundCloud
Listening fatigue is a concept familiar to almost anyone with longterm mixing experience. Even if you are not familiar with the term, chances are you have experienced it in your music making journey. It is often subtle (you have trouble determining what is wrong with your mix) and insidious (you think your mix is going great only until coming back to it with fresh ears, realizing the balance is way out of whack)...
Record producers are always trying to get an edge over competition and will try any trick in the book to improve the perceived quality of their recordings. Witness the mastering limiter, SA-CD, surround sound, exciters, et al. All of those either lost favor, never took hold, or became self-limiting in the case of the loudness wars (wonky engineering pun intended). Now we stand at a crossroads in regards to the next great leap in sound quality technology...
One of the most aggravating things to deal with when writing a song is coming up with proper transitions, usually between verses and choruses. However, transitions can also occur as key changes, progressions, and tempo changes. This is not an exhaustive tutorial on the subject matter but rather an overview of some of your options. Regardless of what kind of change you are dealing with, you should always consider an intermediary change, or bridge...
Most of us have heard of or seen what is known as a “Photoshop disaster.” You know what we’re talking about: a model with a missing hand, or an airbrush gone wrong. In other words, a completely un-natural and off-putting effect originally intended as an enhancement...the corollary in the world of music would have to be the misapplied Autotune, either as an overt effect, or a botched enhancement...
So, you’ve actually recorded your own music and gone through the arduous, though fulfilling, process of mixing it yourself… “so far, so good” you think. But now for the finishing touches, the dreaded MASTERING phase of your recording. Ah yes, the arcane yet fine art of polishing a, hopefully, already good sounding mix (rather than polishing a turd, one hopes?). The one stage of the recording that, rumor has it, even the most hardened DIY masters don’t dream of doing themselves. Dr Dre, Tiesto, Trent Reznor – none of them even come close to grappling with the mysteries of mastering, favoring instead to hand off their carefully considered mixes...
Have you ever found yourself building an elaborate sampler or keyboard patch made up of layers upon layers only to be disappointed when bringing it into your mix? You find out that either it stands out over top of everything else, or else you need to bring it way down to a barely audible level, making you wonder, "dude, where's my sound?" This doesn't only happen with synthesized sounds; you may have layered your drums, vocal takes, bass or guitar parts and come to the same conclusion. This article will help you understand why this happens, and what you can do to avoid it, or if necessary, fix it in the mix.
For this tutorial we are going to show you how to take a mediocre, boring, flat, or just plain wretched sounding kick drum, and magically engineer it into a bass-rattling behemoth. "But, why should I bother learning how to make my own kick drums?" you ask...Well, because, the kick drum is the corner-stone of almost all modern recordings. Check out any hip hop, rock, pop or dance track on the radio today. Front-and-center is a big, beefy kick. Since the kick drum has such high energy content, it goes a long way towards producing the perception of BIGNESS and LOUDNESS in a track. Often, you'll have a kick drum in your track that you selected...